downloading the Healing Through Art booklet

A fine art collection of
original works assembled
for Central City Concern
As of January 2016
About the Collection
Central City Concern (CCC) launched the Healing Through Art initiative to acquire and install a collection
of high quality, curated, inspiring and beautiful artwork for the agency’s Old Town Recovery Center
(OTRC) and Old Town Clinic (OTC), located in downtown Portland, Oregon.
Vulnerable populations—those sleeping outside, struggling with physical or mental health crises, and
living day-to-day with little or no stability—find healing and hope at OTC and OTRC through CCC’s
healthcare services. Here, those who may not otherwise receive healthcare have access to primary,
naturopathic, and psychiatric care, mental health counseling and case management, and alcohol and
drug addiction treatment programs.
The Healing Through Art Collection complements the unique healing model developed by Central City
Concern, as well as the award-winning design for the campus created by SERA Architects. The collection
is a shared community asset enriching the lives of the thousands of patients, clinicians and visitors
receiving services or attending education and community programs at CCC throughout the year.
A well-known study by Roger S. Ulrich, Ph.D., a behavioral scientist who conducts research on the effects
of healthcare facilities on medical outcomes, supports the idea that patients with access to views of art,
nature, and other inspiring visual images are less stressed and anxious, and more hopeful and optimistic
about treatment options. The calming and healing benefits of nature and art also extend to clinic staff.
Comments from patients, clients, and staff members have confirmed that beautiful artwork promotes
the feelings of hope, calm, and even inspiration.
Visual art within the campus comes from three primary sources:
1. The Healing Through Art Collection is made up of original fine art and is located in public areas.
2. Artwork selected and created by staff and clients is displayed in the Living Room, a community
space for patients and staff.
3. Decorative art—prints and reproductions—enhances private and staff-only areas.
The collection was assembled by a volunteer Art Task Force who sought donations from artists,
collectors, and supporters of Central City Concern, with a focus on works by Pacific Northwest artists—
many living and working in Portland.
Katherine Ace
Curves of Juliet, 2012
“’Curves of Juliet’ is an ode to Shakespeare’s Romeo
and Juliet. The text in the painting refers to the
play’s theme of the dichotomy of love and illusion.
The sensual fruit reflects the desires and passion of
lovers.” K.A.
Love Letter, 2004
“’Love Letter’ is from a series called ‘Love Letters from
Time.’ The paper bird holds ecstatic romantic poems
from Rumi and Omar Khayyam. The paper is perched
on a log which represents deep knowledge, while the
paper, which comes from the log, represents timeless
human communication. The log is filled with many
tiny objects reflecting its very complex nature.” K.A.
Katherine lives and works in Portland and is
represented by Froelick Gallery.
Curves of Juliet, 2012
Alkyd and oil with paper on canvas, 30”x64”
Donated by Katherine Ace and Charles Froelick
Love Letter, 2004
Alkyd and oil with paper and tiny objects
on canvas, 16”x12”
Donated by Katherine Ace and
Charles Froelick
Rick Bartow
Myths from around the globe, especially Native
American transformation stories, are the heart of
much of Rick Bartow’s work. Observations of the
natural world: hawks, ravens, coyotes, eagles and
self-portraits populate his iconography. Personal
experience and cultural engagement inspire his
drawings, paintings, sculpture and prints.
Rick is a member of the Mad River Band of the
Wiyot tribe from Northern California, and he is a
lifelong resident of the Oregon coast. He is also an
active blues guitarist.
Rick is represented by Froelick Gallery.
Blue Jay 2, 2008
Monotype on BFK Rives with acrylic, 29”x36”
Donated by Rick Bartow and Froelick Gallery
Marlene Bauer
Marlene Bauer reconstructs consciousness in
a way that suggests she is more interested in
the impact of the mind on the world than the
other way around. In spite of its deliberate use
of ambiguity, her work is about identity and
how things enter into awareness. Balance is her
hallmark; each canvas evokes elements both
active and passive, tense and relaxed, deep and
shallow, simple and complex.
Marlene is a native of the Pacific Northwest and
is represented by Laura Russo Gallery.
Sway, 1995
Acrylic on masonite panels, 20”x16”
Donated by Marcy and Richard Schwartz
Hildur Bjarnadóttir
Hildur Bjarnadóttir, an Icelandic textile
artist, creates her works from the ground
up in an almost literal and physical sense.
Her varicolored cloths, in solid colors or
checked, have a texture and weave that all
but ask us to touch. Her new materials are
linen, wool, and silk yarns. She weaves and
crochets, hand dyes her yarns and fabrics,
and moreover makes her own dyes.
Untitled (Notebook Paper)
Thread, paper, 17.5”x19.75”
Anonymous Gift
Rebeca Bollinger
Index, 2001
C-Print, 20”x24”
Anonymous Gift
Rebeca Bollinger’s work with ceramics,
drawing, photography, sound, installation,
and video fluctuates between flat space
and objects, painting and sculpture.
She says, “Making requires incredible
commitment, rigor, time, energy and
resources, all of which, for me, come
before doing many other things. It can
sacrifice a lot… but really it is a privilege.”
Rebeca lives and works in the San
Francisco Bay Area and is represented by
Rena Branston Gallery.
Drive, 2001
Pencil on vellum, 38”x25”
Anonymous Gift
Sharon Bronzan
Sharon Bronzan spends hours and hours on her
detailed watercolors. She compares her work to
the work of a monk, and her pieces, with their
solid colors and still poses, have something of
the look of religious icons. Her paintings unfold
in a mysterious fashion, stylistically reflecting an
interest in Hispanic ex-votos and replicarios.
Sharon lives and works in Portland and is
represented by Augen Gallery.
Waiting, 1999
Acrylic and gouache, 6.75”x7.75”
Anonymous Gift
Carolyn Cole
Color is a major preoccupation for Carolyn Cole.
Her forms are achieved through the process
of applying multiple layers of pigment, with a
texturing component that some viewers never
guess: she always adds a layer of recycled
envelopes between her canvas and her paint.
“This painting is from an ongoing series of
paintings exploring intense color, rich textures and
organic compositions. Color plays an important
role in ​describing the emotional value and mood.
The forms are instinctually achieved through the
process of applying multiple layers of pigment,
combining dense surfaces, abstraction, and
geometry.” C.C.
Carolyn lives and works in Portland and is
represented by Butters Gallery.
Red (81003), 2010
Mixed media on Canvas, 49”x49”
Donated by Carolyn Cole
Baba Wagué Diakité
“’The Fisherman and the Helpers’ platter represents
sustainability. For thousands of years, the fishermen
on the Niger River in Mali have been passing down the
secret ancient fishing techniques from generation to
generation. What I admire about this is how the Bozo
ethnic group of fishermen sustain their identity as they
continue to perform the ancient fishing stories of their
ancestors.
“Back in the 80s when I first arrived in Portland
from my native country of Mali in West Africa, I had
no ability to communicate with people, as I did not
speak English. This is when my artistic talent came to
my rescue. Portland was less busy then, and the art
community was the social glue. During those days, I
was represented by William Jamison Gallery. The crowd
of art admirers at my first show involved collectors,
ordinary citizens and even homeless people. In my
memory, this was the magic of art at its best—opening
communication and healing our community.” B.W.D.
Wagué lives and works in Portland and is
represented by Eutectic Gallery.
The Fishermen and the Helpers, 2013
Ceramic, black underglaze with lead-free glaze,
21.5” diameter
Purchased for the collection by Dan Winter and John Forsgren
Shirley Gittelsohn (1925–2015)
Shirley Gittelsohn grew up in Portland,
where she launched her career after
studying painting at the Museum Art
School, now Pacific Northwest College
of Art. She first painted portrait and
figurative work of her children, nieces
and nephews, then moved to extremely
large expansive landscapes and
abstracts of the Oregon coast. She saw
what was around her, then brought her
own interpretation. This triptych hung
for years in the Claremont Hotel in
Berkeley, Ca.
Shirley was represented by the Fountain
Gallery in Portland.
Triptych, 1974
Oil on canvas (3 panels), 60”x135”
Donated by The Harold and Arlene Schnitzer CARE Foundation
Cie Goulet
Cie Goulet’s landscapes are drawn from
multiple photographs she has taken all over
the Pacific Northwest. Back in her studio, she
combines and modifies these documented
images to recreate her subjective response
“to get the memory and mood of being in the
landscape,” she says. “I am not interested in
creating a quiet, peaceful, bucolic scene. I am
concerned with its dynamic potential.”
Cie lives in the San Francisco Bay Area and is
represented by Laura Russo Gallery.
Yamhill Fields, 1992
Acrylic on canvas, 33”x49”
Anonymous Gift
Jennifer Guske
“My work is not meant to be real deep or anything.
It’s pretty much what you see. […] A lot of it’s in the
color and the form. I like to work with movement and
a feeling, a general feeling, rather than a lot of deep
psychological things. I want people who see my work
to get an immediate feeling from it, a kind of gut-level feeling. I want it to be loose enough that […] they
might have to look at it and think about it. You know,
wonder.” J.G., from “Just rocking along with her
soulful art” by Fred Crafts. Printed in The Eugene
Register Guard, February 19, 1981.
Candle Stick
Linoleum block print, 24”x30”
Donated by Vicki Romm
Tom Hardy
Tom Hardy is the epitome of the independent
Oregon spirit. Even though he has traveled
extensively, he has made art that is a reflection
of his place in the world, which has always been
grounded in Oregon. He is one of the last of
his era, having started in ceramics, then moved
on to carved wooden work, welded steel, cast
bronze, etchings, watercolors—every medium
available to him. These etchings were done
when he was teaching in Wyoming, but they
could be Oregon, couldn’t they?
Untitled, c. 1975
Etching, 15”x32”
Purchased for the collection by Pam Baker and Clark Anderson
Untitled, c. 1975
Etching, 17”x32”
Purchased for the collection by Bing and Carolyn Sheldon
George Johanson
Eden, 1985
Etching with hand coloring, 56”x26”
Purchased for the collection by
Dan Winter and John Forsgren
Eden, 1985
“An imaginative view of Portland as seen from
the Rose Garden. The composition travels down
toward the reservoir, on to the Vista Bridge and
then out to the city and beyond to the distant
mountains. The landscape is active with people
and animals, planes in the sky, Mt. St. Helens
erupting, joggers on the bridge, a cat, a couple
of dogs, and the artist at work at the bottom of
the picture. The title indicates what Portland is
and/or what it could be.” G.J.
Split City, 1989
“Two different imaginary views of the city are
brought together. Some of the images are
continuous across the centerline, some are
discontinued and interrupted. Some of the
images are literal and identifiable, others are
imaginary. ‘Split City’ is a kind of dream-state
portrait of Portland.” G.J.
George lives and works in Portland and is
represented by Augen Gallery.
Split City, 1989
Etching with hand coloring, 54”x26”
Donated by George Johanson
The Story Was About Me, 1991
Oil on canvas, 48.5”x48.5”
Donated by Geof Beasley and
Jim Sampson
Mary Josephson
“Painting was my first love, and I remain
in love with the act of telling stories,
celebrating the human experience through
my artwork. From the beginning, painting
people meant more to me than achieving a
physical likeness. I wanted the work to tell
a story about the person depicted, what
was going on below the surface—maybe
a specific story or just the suggestion of a
rich inner life—getting to the heart of the
matter.” M.J.
Mary lives and works in Portland and is
represented by Laura Russo Gallery.
Under Way, 1994
Oil on wood panel, 36”x48”
Donated by Greg Goodman
Bill Kucha
“I’ve always loved the vigor and action of the
paint as seen in the Abstract Expressionism of
DeKooning, Kline, and Pollack. Landscapes, still
life and people are my primary themes. From
the mid-eighties on, my landscapes became
invented places, composites of sketches,
photos, memory and imagination. The
alchemical quality of creating something from
nothing was becoming […] more interesting to
me. The idea of making what Picasso called
‘a lie,’ convincing enough to be believed, is
magical and somehow thrilling.” B.K.
Roller Blades, 1994
Watercolor on paper, 48”x48”
Donated by Gary Maffei and Marcus Lintner
Betty La Duke
Redwood Whisperers, 1972
“Ancient redwood trees are like people that stand
side by side sharing earth, sharing sky, whispering
dreams.” B.LD.
The Lovers, 1970
“Reaching out, embracing, these lovers experience
the joy of connecting—body and spirit.” B.LD.
Bali: Sunset, 1974
“A farmer and his wife survey their planted rice field
and think about their future harvest… a wedding of
HUMAN energy and EARTH energy.” B.LD.
Redwood Whisperers, 1972
Acrylic on canvas, 54”x68”
Donated by Betty La Duke
The Lovers, 1970
Acrylic on canvas, 38”x64”
Donated by Betty La Duke
Aerolists, 1972
“Aerialists represent the precariousness of life that
includes our hopes, fears and the risks we take, by
choice or circumstance, to move forward.” B.LD.
Betty taught at Southern Oregon University for
more than 30 years until her retirement. She
lives and works in Ashland, Ore.
Aerolists, 1972
Acrylic on canvas, 78”x70”
Donated by Betty La Duke
Bali: Sunset, 1974
Acrylic on canvas, 68”x72”
Donated by Betty La Duke
Barbara Leventhal-Stern (1948–2009)
There was always a story at the core of Barbara
Leventhal-Stern’s paintings and prints. During
the last years of her life, in San Francisco, her
work focused on two specific communities
of people: Eastern European Jews before the
Holocaust and world circus performers. As
wildly different as these themes seem to be,
they were linked together in Barbara’s mind.
Both of these groups lived on the edge of life
and walked a tightrope upon which they tried
to keep their precarious balance, for better or
worse.
Clown and Bird
Wood block print, 31”x34.5”
Donated by Michael Stern
Elephant Parade, 1999
Wood block print, 31”x43.5”
Donated by Michael Stern
The Flame Eater, 1998
Wood block print, 32”x43.5”
Donated by Michael Stern
Out on a Limb, 1988
Watercolor on paper, 36”x32”
Purchased for the collection by
Dan Winter and John Forsgren
Susan McKinnon
Out on a Limb, 1988
“Magnolias have always been one of my favorite
floral subjects. I love the simplicity of the petal
shapes and the stark contrast of them against
a clear blue sky. It has been my experience,
however, that just as the buds begin to open, a
hailstorm arrives to destroy them. As an artist,
I love that I can give my subject ‘center stage’ at
the peak of its perfection.” S.M.
Spring Garden, 1990
“This painting is of a garden I wished I had. The
flowers were growing in different parts of my
garden, definitely not in close proximity to one
another. In order to get good reference photos,
I cheated a little by cutting the flowers and
arranging them in containers. Hopefully, the
result is an intimate display of beautiful spring
flowers highlighted by sun and shadows.” S.M.
Susan lives and works in Portland and is
represented by the Portland Art Museum
Rental Sales Gallery.
Spring Garden, 1990
Watercolor on paper,
51”x40.5”
Donated by
Susan McKinnon
Stas Orlovski
Stas Orlovski is a Los Angeles-based artist whose
work includes painting, drawing and animation.
When he was a child, his family fled the Soviet
Union to Tel Aviv, then Paris, to eventually settle in
Toronto, Canada.
Orlovski studied art in Toronto and Los Angeles,
receiving a BFA from York University, a B.Ed from
the University of Toronto and an MFA from the
University of Southern California. Orlovski has
exhibited widely throughout the U.S. with solo
shows in Los Angeles, New York, Chicago and San
Francisco.
Untitled (Four Birds/Lips), 2002
Ink on handmade paper, 13.5”x10.5”
Anonymous Gift
Kim Osgood
“Through direct observation of nature, painting
becomes a method of recording and preserving its
cycles. In an artistic culture that values controversy
and shock-value, I take pleasure in the mildly
rebellious nature of creating a still life today. My goal
is to bring joy to myself and to my viewers through my
compositions. I want to create the sensation of being
inside these scenes, smelling the flowers, hearing the
insects, and feeling the breezes.” K.O.
Kim lives and works in Portland and is represented
by Laura Russo Gallery.
Red Studio, 2013
Monotype, 40”x33.5”
Donated by Kim Osgood
William Park
“I love to paint. I don’t mean the puppy licking your
face kind of love. I’m talking about the screaming
downhill thrill, on the fulcrum between fear and
ecstasy, of the roller-coaster… to hell with the
consequences kind of love. This passion drives my
work. For more than seven years, I have enjoyed my
Fridays in the studio with Fred… conversing with,
drawing, and painting my neighbor and good friend.
‘I’m ready to talk now’ captures Fred on the cusp of
revealing one of his passions.” W.P.
Bill lives and works in Portland.
I’m ready to talk now, 2012
Oil on canvas, 40”x32”
Purchased for the collection by
Downtown Development Group, LLC
Eunice Parsons
“I’ve been a painter, printmaker and tile maker,
but when I discovered collage I said, ‘This is it;
this medium is mine.’ Collage lets me use my love
for words, concrete and abstract. The detritus of
our contemporary culture, posters picked up in
my travels, are all grist for the mill. I have enough
paper for the next ten years. I hope I never
lose the excitement of the torn edge, the close
relationship and the thrill of bringing something
new and exciting into being.” E.P.
At age 91 in 2015, Eunice lives and works in
Portland and is represented by 12x16gallery.
This is Not Woody Allen’s Paris,
2011
Torn paper and paint, 29”x29”
Donated by Eunice Parsons and
12x16gallery
If It’s Not Baroque, Don’t Fix It,
2011
Torn paper and paint, 27.5”x26”
Donated by Eunice Parsons and
12x16gallery
A Bird for Jack McLarty,
2009
Torn paper and paint, 25”x21”
Donated by Eunice Parsons and
12x16gallery
Near Siena, Spinach and
Pine Nut Torta, 1997
Jack Portland
Acrylic on masonite,
18.75”x19”
Anonymous Gift
“The images in my work have always been
very much my own secret code, and an
escape from the real world. They are a
silent, still and sensuous documentary
of all that I see, love, and enjoy: color,
surface, landscape, still life, people,
decoration, drink, food, and warmth. This
work embraces all of these things on an
intimate scale.” J.P.
Jack lives and works in Portland and is
represented by Laura Russo Gallery.
Study: Siena Landscape, Lazio
Landscape Near Ceri, Lower, 1998
Acrylic on board, 10.25”x18.25”
Anonymous Gift
Rene Rickabaugh
“Known throughout the Northwest for his
‘molecular’ images of flowers and birds, Rickabaugh
draws the eye into a world of precision, color and
mystery suggestive of folk art from Mexico, the
Middle East or India. As I’m painting, I have to focus
on how to make it right. I have to make it a world that
is very large in that small piece of paper. I always want
to go finer.” From “Portland artist Rene Rickabaugh
struggles—and flourishes—with obsessive
perfectionism” by David Stabler. Printed in The
Oregonian, May 14, 2011.
Rene lives and works in Portland and is
represented by Laura Russo Gallery.
Sky Light, 1998
Watercolor on paper, 17”x15.25”
Anonymous Gift
Laura Ross-Paul
“In 1985 I had a studio a few blocks away from CCC.
Then, as now, there was a lot of youthful street traffic.
I often saw the sun setting over the West Hills between
the buildings as I left in the evening. It’s these two
elements that inspired ‘After the Rain,’ as well as the
exuberant body language that echoed the time of
day when youthful energies are high, as are my own.”
L.R.P.
Laura lives and works in Portland and is
represented by Froelick Gallery.
After the Rain, 1985
Oil on canvas, 84”x60”
Donated by Laura Ross-Paul and Charles Froelick
Susan Seubert
“Investigating images that have social
relevance has been a primary focus of my
practice for the last eighteen years. Rather
than being photo-journalistic, I’ve chosen
various working methods and media, all
photographically based, to underscore the
subject matter of the images.” S.S.
E, 2000
Tintype, edition of 5, 4”x5”
Anonymous Gift
Susan is an active fine art and journalism
photographer in Portland. She is
represented by Froelick Gallery.
Dress #3, 2000
Tintype, 15”x12”
Anonymous Gift
Pia Stern
“Pia Stern has an unusual power of transforming
her ‘dreams’ into our own. They remain hers: she
does not share them. But we are not asked to
riddle out Stern’s private meanings.” From “Stern
and Adams at SF MOMA Gallery” by Nancy Ewart.
Printed in The SF Examiner, March 29, 2010.
Pia is represented by the Elins Eagles-Smith Gallery,
San Francisco, and the San Francisco Museum of
Modern Art: Artists’ Gallery.
Query
Acrylic on canvas, 60”x60”
Anonymous Gift
Angelita Surmon
Angelita Surmon is a Northwest artist whose paintings
have been displayed across the country. Over the last
30 years, she has shown a willingness to evolve her
mediums and themes along with her interests and
influences. Though she is currently best known for
her watercolors of local landscapes, her body of work
also includes paintings on handmade paper. She has
explored and been inspired by Abstract Expressionism,
the innocence of children’s drawings, classical
representations of the human figure, and more.
Angelita is represented by Waterstone Gallery.
Resonance, 1995
Acrylic on handmade paper, 50”x28.5”
Anonymous Gift
Melinda Thorsnes
“When my grandmother died in 1971, I inherited
the family photo albums and set about painting
reconstructions of events that I was, in some cases,
too young to remember. […] My nomadic family was a
quick-witted, fleet-footed and colorful bunch, and I am
proud to have inherited some of those traits. Through
the years, my work has expanded from family matters
to personal and political issues and back again—a
journey for a sense of place and for recording the
region’s people and events that have and do affect my
life.” M.T.
Melinda lives and works in Portland and is
represented by Michael Parsons Fine Art.
Untitled
Oil on canvas, 29”x44”
Purchased for the collection by Dan Winter and John Forsgren
Joe Thurston
“The piece, quite literally, is a masterstroke,
recalling in its own way Roy Lichtenstein’s mid1960s Brushstrokes series, in which the Pop
artist riffed on Abstract Expressionism using his
own native technique, the newsprint/cartoon
pixel. Those works were wittily conceptual,
simultaneously reverential of the past and
self-referential of the artist’s distance from it,
and so are Thurston’s. Brilliant mutations, ripe
for infinite variation and future development,
the works are sly, sophisticated, and above all
exuberant. Further works demonstrate that the
artist has only begun to mine the formal and
expressive potential of this new style.” From “A
Deeper Matrix: Joe Thurston’s Abstractions” by
Richard Speer. Catalogue essay sponsored by
the Regional Arts & Culture Council.
We Do Not Feel Disloyal When We Talk of
Our Own Lives, 2006
Relief painting on panel, 36”x36”
Donated in memory of Timothy Butcher by
Annette and Joe Thurston
Margot Voorhies Thompson
“In my work as a calligrapher, printmaker and
painter, my intention is to combine both archaic
and futuristic elements while encoding beneath the
surface poetry, literature and song. I add, subtract,
or partially eradicate layers to create a palimpsest,
symbolic for the passage of time. Messages are
transformed, as if by history, through time, weather
and the human touch. I try to bring the ancient
and the contemporary together in my methods, my
references and within my art.” M.V.T.
Margot lives and works in Portland and is
represented by Laura Russo Gallery.
Leaf Mandala, Forest Song, 1996
Mixed media on paper, 38.5”x38”
Donated by Margot Voorhies Thompson
Conversation, 1998
Acrylic, ink on paper, 18”x24”
Anonymous Gift
Gina Wilson
Working abstractly, Gina Wilson interprets the
formal qualities of painting into familiar line and
shape. The rich surfaces contain chalky lines of
oil stick forming shapes that suggest a figurative
element. Using large wood panels and found wood
of various sizes, Wilson paints a new texture over
the existing ground.
Gina is represented by Laura Russo Gallery.
Draw (2), 1997
Acrylic and ink on paper,
14”x11.25”
Anonymous Gift
Incept, 2001
Acrylic, ink on canvas
board, 10.125”x27.75”
Anonymous Gift
Blocks, 2001
Acrylic, ink on wood panel,
11”x10.5”
Anonymous Gift
Untitled, 1999
Ink and chalk on paper, 14”x16”
Anonymous Gift
No More Muffled Dreams,
2002
Acrylic and ink on paper,
12.5”x11”
Anonymous Gift
Sherrie Wolf
Three Pears, 2015
Etching, hand-colored
by the artist, 19.5”x22.5”
Donated by Sherrie Wolf
“I use the history of art to take my still lives to
another place and time and create a contrast
of scale. I create an artificial environment
which is like a theatric stage experience, using
all the tricks of illusion and juxtaposition,
though on a two-dimensional surface. Trompe
l’oeil painters of the past would seek to
convince the viewer of a three-dimensional
reality. I seek to convince the viewer of a
reality that alludes to and honors my artistic
predecessors.” S.W.
Sherrie lives and works in Portland and is
represented by Laura Russo Gallery.
Cherries/Mountain, 2015
Etching, hand-colored by
the artist, 19.5”x25.5”
Donated by Sherrie Wolf
Dorothy Yezerski (1919–2003)
Dorothy Yezerski graduated in 1942 from the
Museum Art School within the Portland Art
Museum, where she later taught for 35 years. She
continued her formal education at Lewis & Clark,
then Reed College. Her work features a part of
the world that captured her imagination—Italy
and Greece. A frequent traveler to historic sites
in Pompeii, Venice and Athens, Yezerski painted
locales from a unique aerial perspective through
colorful, abstract compositions. Imagine you are
looking at the built environment from a bird’s eye
view…
Asolo, c. 1967
Oil on canvas, 72”x42”
Donated by Philip Barry, Conservator of the
Dorothy Yezerski Collection
Aerial, 1967
Casein on canvas, 37.75”x64”
Donated by Philip Barry, Conservator of the
Dorothy Yezerski Collection
Jan Zach (1914–1986)
Piece from “River Series,” c. 1960
Jan Zach’s sculpture in the atrium is carved
polystyrene that was to be cast in aluminum.
It is of the same period as his “Three Rivers,”
which stands outside Eugene’s City Hall.
From “River Series”, c. 1960
Polyurethane, 8’
Donated by Tommy Griffin
Dancer, c. 1950
His “Dancer” reflects those movements in
human form, as well as celebrating the vibrant
culture of Brazil in the 1940s, when he lived
there.
Born in Czechoslovakia, Jan Zach joined the
art faculty of the University of Oregon in 1958,
where he taught for 21 years. He said, “The
formation of ever-changing cloud shapes
interests me; also the surfaces of rivers, the
ripple of the water which is so like drapery
ruffled by the wind.”
Dancer, c. 1950
Oil pastel, 25”x18.5”
Donated by Tommy Griffin
Donors and Friends of the Healing Through Art Collection
Donors
12x16gallery
Katherine Ace
Pam Baker & Clark Anderson
Philip Barry, Conservator,
Dorothy Yezerski Collection
Rick Bartow
Geof Beasley & Jim Sampson
Carolyn Cole
Downtown Development Group
Froelick Gallery
Greg Goodman
Tommy Griffin
The Harold & Arlene Schnitzer
CARE Foundation
George Johanson
Betty La Duke
Laura Russo Gallery
Gary Maffei & Marcus Lintner
Susan McKinnon
Kim Osgood
Eunice Parsons
Todd Putnam & Framing Resource
Carole Romm
Vicki Romm
Laura Ross-Paul
Marcy & Richard Schwartz
Bing & Carolyn Sheldon
Kathleen & Leigh Stephenson-Kuhn
Michael Stern
Annette & Joe Thurston
Margot Voorhies Thompson
Dan Winter & John Forsgren
Sherrie Wolf
Booklet Design: Caitlynn Abdow
Art Task Force
Pam Baker
Jeanine Jablonski
Carole Romm
Marcy Schwartz
Bing Sheldon
Kathleen Stephenson-Kuhn
Kate Wagle
Dan Winter
Curatorial Advisor:
Bonnie Laing-Malcolmson
CCC Staff Support
John Bischof
Chris Colburn
Viktor Jurisons
Kathy Pape
Paul Park
Kristie Perry
Sarah Porter
Robin Robberson
Kathleen Roy
Billie Kay Stafford
Becky Wyland
About Central City Concern
facebook.com/cccportland
Founded in 1979, Central City Concern is a nonprofit agency
working to end homelessness, one person at a time. Central
City Concern serves single adults and families in the Portland
metro area who are impacted by homelessness, poverty,
and addictions. To fulfill its mission, CCC has developed a
comprehensive continuum of services to support personal
and community transformation in the Portland metro area.
Central City Concern provides:
• Direct access to affordable, supportive housing for
individuals and families
• Integrated primary and behavioral healthcare services
that are highly effective in engaging people alienated
from mainstream systems
• Attainment of income through employment or access
to benefits
• The development of peer relationships that nurture
and support personal transformation and recovery
The success of these four elements results in a transformation
of world view and self image from a negative to a positive
outlook, enabling people to become productive citizens who
want to “give something back” to the community.
@cccportland
@cccportland
youtube.com/centralcityconcern
232 NW 6th Avenue
Portland, OR 97209
Telephone: 503-294-1681
www.centralcityconcern.org
A 501(c)3 non-profit organization